Orpheus in the Underworld Orpheus in the Underworld Orpheus in the Underworld (DVD) Orpheus in the Underworld (in French: 'Orphée aux enfers') is an operetta in two acts by Jacques Offenbach. The original French text was by Meilhac and Halévy, and the first production took place in Paris in 1858. It is famous for the good plot and the far more famous music. Outside classical circles, the Infernal Galop from Act II, Scene 2 is widely recognized as the music for the "Can-can". Synopsis Note: Orpheus in the Underworld exists in several forms: Offenbach originally wrote it in a two-act form, then expanded it to four acts with a great deal of filler material, ballets, and such like when it proved popular. The English translations are in a far more confusing state, as several add numbers from other operas, a major translation replaces Public Opinion with Orpheus' mother, and so on.

This article lists only songs in the original two-act version (the four-act version is performed rarely and has the same plot), using the names given to them by the D'Oyly Carte Opera Company's 1994 CD. An additional song included on that CD from the four-act version ("A skip, a hop") is ignored for consistency. Act I, Scene 1: Near Thebes We open with a melodrama (Introduction and Melodrame) in which Public Opinion explains who she is, setting herself up as the guardian of morality. She seeks to rework Orpheus and Eurydice - who hate each other - into a moral tale for the ages. However, she has her work cut out for her: Eurydice is in love with the shepherd, Aristaeus, who lives next door ("Ah when a woman's heart is yearning"), and Orpheus is in love with Chloë, a shepherdess. When Orpheus mistakes Eurydice for her, everything comes out, and Eurydice insists they break the marriage off ("So you confess?").

However Orpheus, fearing Public Opinion's reaction, torments her into keeping the scandal quiet using violin music, which she hates. We now meet Aristaeus (who is, in fact, Pluto) keeping up his disguise by singing a pastoral song about those awful sheep ("Hail! My name's Aristaeus"). Since Pluto was originally played by a famous female impersonator, this song contains numerous falsetto notes. Eurydice, however, has discovered what she thinks is a plot by Orpheus to kill Aristaeus, but is in fact a conspiracy between him and Pluto to kill her, so Pluto may have her. Pluto tricks her into walking into the trap by showing immunity to it, and, as she dies, transforms into his true form (Transformation Scene) Eurydice finds that death is not so bad when the God of Death is in love with you ("I thought that death would be more painful"), and so keeps coming back for one more verse. They descend into the Underworld as soon as Eurydice has left a note telling her husband she has been unavoidably detained (Descent to the Underworld).

All seems to be going well for Orpheus until Public Opinion catches up with him, and threatens to ruin his violin teaching career unless he goes to rescue his wife. Orpheus reluctantly agrees ("Come, come, come"). Act I, Scene 2: Olympus The scene changes to Olympus, where the Gods sleep out of boredom ("We're fast asleep"). Things look a bit more interesting for them when Diana returns and begins gossiping about Actaeon , her current love ("When I go riding"). However, Jupiter , shocked at the behaviour of the supposedly virgin goddess, has turned Actaeon into a stag. Pluto then arrives, and reveals to the other gods the pleasures of Hell (Entrance of Pluto), leading them to revolt against horrid ambrosia, hideous nectar, and the sheer boredom of Olympus ("To arms, you gods and demi-gods"). Jupiter's demands to know what is going on lead them to point out his hypocrisy at great length, describing - and poking fun of - all his mythological affairs ("When you seduced the fair Alcmena"). However, little further progress can be made before news of Orpheus' arrival forces the gods to get onto their best behaviour (Finale, Act I).

Pluto is worried he will be forced to give Eurydice back, and, after a quotation from Gluck's Orfeo ed Euridice sends the gods to tears, Jupiter announces that he is going to Hell to sort everything out. The other gods beg to come with him, he consents, and mass celebration breaks out at this holiday. Act II, Scene 1 Eurydice is being kept locked up by Pluto, and is finding life very dull. Her gaoler, a dull-witted fellow by the name of John Styx, is not helping, particularly his habit of telling, at the slightest provocation, all about how he was King of the Beotians until he died. But if he had not died, he would still be king ("When I was King of the Beotians").1 Jupiter spots where Pluto hid Eurydice whilst being shown around by him, and slips through the keyhole by turning into a beautiful, golden fly. He meets Eurydice on the other side, and sings a love duet with her where his part consists entirely of buzzing (The Fly Duet). Afterwards, he reveals himself to her, and promises to help her, largely because he wants her for himself.

1 Beotia is a part of Greece that Aristophanes fills with idiotic rural rubes - rather appropriate for this Styx. Act II, Scene 2 The scene shifts to a huge party the gods are having in Hell, where ambrosia, nectar, and propriety are nowhere to be seen ("It's party time in Hell"). Eurydice sneaks in disguised as a Bacchante (Hymn to Bacchus), but Jupiter's plan to sneak her out is interrupted by calls for a dance. Unfortunately, Jupiter can only dance minuets ("How I love to dance") which everyone else finds boring and awful. Things liven up, though, as the most famous number in the opera, the Infernal Galop (best known as the music of the Can-Can) starts, and everyone throws themself into it with wild abandon. Ominous violin music heralds the approach of Orpheus (Entrance of Orpheus and Public Opinion), but Jupiter has a plan, and promises to keep Eurydice away from him. As with the standard myth, Orpheus must not look back, or he'll lose Eurydice forever.

Public Opinion keeps a close eye on him, to keep him from cheating ("Look ahead and not at your wife"), but Jupiter throws a lightning bolt, making him jump and look back, and so all ends happily, with a reprise of the Galop. Orpheus in the Underworld" (CD) List of Numbers Note: The names vary widely between translations. Consult the plot synopsis for more information on individual songs. Act I, Scene 1 Introduction and Melodrame (Public Opinion) Couplets, "Ah when a woman's heart is yearning (Eurydice) Duet, "So you confess" (Orpheus, Eurydice) Pastoral song, "Hail!

My name's Aristaeus" (Aristaeus (Pluto)) Transformation (Aristaeus (Pluto) and Eurydice) Couplets, "I thought that death would be more painful" (Eurydice) Descent to the Underworld (Pluto and Eurydice) Duet, "Come, come, come" (Public Opinion and Orpheus) Act I, Scene 2 Entr'acte and Chorus, "We're fast asleep" (Chorus of Gods), Song, "When I go riding" (Diana) Entrance of Pluto (Orchestra) Revolution Chorus, "To arms, you gods and Demi-Gods" (Chorus, Pluto, Jupiter) Couplets, "When you seduced the fair Alcmena" (Minerva, Diana, Cupid, Venus, Pluto, and Chorus) Finale, Act I, "He is coming, how upsetting" (Pluto, Public Opinion, Orpheus, and Gods) Act II, Scene 1 Couplets, "When I was King of the Beotians" (Styx) Fly Duet, "I'm feeling all lovely and shivery" (Jupiter, Eurydice)

 Act II, Scene 2 Infernal Chorus, "It's party time in Hell" (Chorus) Hymn to Bacchus, "I saw him on a rock" (Eurydice, Chorus) Minuet, "How I love to dance" (Jupiter).

Infernal Galop (Chorus) Entrance of Orpheus and Public Opinion (Pluto, Eurydice, Jupiter, Public Opinion, Orpheus) Finale, Act II "Look ahead and not at your wife" (Ensemble) Recordings The operetta has been recorded many times. There is a historic recording made in 1951 by René Leibowitz and the Paris Philharmonic available on compact disc (REGIS RRC 2063). Michel Plasson recorded the work with Mady Mesplé in 1978 (EMI CDS7496472), and in 1999 Marc Minkowski conduted the operetta in Lyon, with a strong cast including Natalie Dessay, Laurent Naouri, Jean-Paul Fouchécourt, Véronique Gens, and Ewa Podles (EMI 0724355672520).

Minkowski is also the conductor on a DVD released in 1997, again at Lyon with Natalie Dessay, Laurent Naouri, and Jean-Paul Fouchécourt, as well as Yann Beuron and others in a production by Laurent Pelly (TDK DV-OPOAE). Orpheus in the Underworld in popular culture The Infernal Galop from Act II, Scene 2 is famous outside classical circles as the music for the "Can-can". Saint-Saëns borrowed the Galop, slowed it to a crawl and assigned it to the bass violin to represent the tortoise in The Carnival of the Animals. References 'The Opera Goer's Complete Guide by Leo Melitz, 1921 version. The titles of the songs used are from the D'Oyly Carte Opera Company's 1994 production of the opera, as given on the liner notes of their CD.

Retrieved from "" Orpheus in the Underworld - 必应 Sign in Orpheus in the Underworld Orphée aux enfers, whose title translates from the French as Orpheus in the Underworld, is an opéra bouffe (a form of operetta), or opéra féerie in its revised version. Its score was composed by Jacques Offenbach to a French text written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux. The work, first performed in 1858, is said to be the first classical full-length operetta. Offenbach's earlier operettas were small-scale one-act works, since the law in France did not allow full-length works of certain genres. Orpheus was not only long ... (展开) er, but more musically adventurous than Offenbach's earlier pieces. This also marked the first time that Offenbach used Greek mythology as a background for one of his pieces.

The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice and culminates in the risqué Galop infernal ("Infernal Galop") that shocked some in the audience at the premiere. Other targets of satire, as would become typical in Offenbach's burlesques, are the stilted performances of classical drama at the Comédie-Française and the scandals in society and politics of the Second French Empire. The "Infernal Galop" from Act 2, Scene 2, is famous outside classical circles as the music for the "can-can" (to the extent that the tune is widely, but erroneously, called "can-can"). Saint-Saëns borrowed the Galop, slowed it to a crawl, and arranged it for the strings to represent the tortoise in The Carnival of the Animals.

关于Orpheus in the Underworld，网友们最关心的问题 1 要mp3，要交响乐版本的，找地狱中的奥尔菲斯 序曲Orpheus in the Underworld 答 奥芬巴赫，歌剧《地狱中的奥菲欧》序曲 Orpheus in the Underworld Performance history The first performance of the two-act, opéra bouffe version took place at the Théâtre des Bouffes-Parisiens in Paris on 21 October 1858 and ran for an initial 228 performances. It then returned to the stage a few weeks later, after the cast had had a rest. For the Vienna production of 1860, Carl Binder provided an overture that became famous, beginning with its bristling fanfare, followed by a tender love song, a dramatic passage, a complex waltz, and, finally, the renowned can-can music. In America the work played in German at the Stadt Theatre, on Broadway, from March 1861. It had its Czech premiere in 1864, under Adolf Čech.

It had a run of 76 performances at Her Majesty's Theatre, in London, beginning on 26 December 1865, in an adaptation by J. R. Planché. A four-act version, designated as an opéra féerie, was first performed at the Théâtre de la Gaîté on 7 February 1874. (This has proved less popular over time than the original two-act version.) Sadler's Wells opera presented an English version by Geoffrey Dunn beginning on 16 May 1960. In the 1980s, English National Opera staged the opera freely translated into English by Snoo Wilson with David Pountney. The production was notable for its satirical portrayal of the then Prime Minister Margaret Thatcher as the character Public Opinion. The first performance was at the Coliseum Theatre in London on 5 September 1985.

The D'Oyly Carte Opera Company performed the work in the 1990s.In September 1997 a production by Laurent Pelly was mounted in a former hydroelectric plant near Geneva while the stage area of the Grand Théâtre was being renovated, with Yann Beuron and Annick Massis in the title roles and Marc Minkowski conducting; this production moved on to Lyon where it was recorded and filmed. The Toronto Operetta Theatre staged a controversial performance in Dec. 1993-Jan. 1994 in which heaven was Club Med, and hell was a leather bar. Orpheus in the Underworld Critical appreciation In the eyes of Clément and Larousse the piece is une parodie grotesque et grossière (a coarse and grotesque parody), full of vulgar and indecent scenes that give off une odeur malsaine (an unhealthy odor). In the opinion of Piat, however, Offenbach's Orphée is, like most of his major operettas, a bijou (jewel) that only snobs will fail to appreciate.

The piece was not immediately a hit, but critics' condemnation of it, particularly that of Jules Janin, who called it a "profanation of holy and glorious antiquity," only provided vital publicity, serving to heighten the public's curiosity to see the piece. Act 1 Scene 1: Near Thebes A melodrama (Introduction and Melodrame) opens the work. Public Opinion explains who she is – the guardian of morality ("Qui suis-je? du Théâtre Antique"). She seeks to rework the story of Orphée (Orpheus) and Eurydice – who, despite being husband and wife, hate each other – into a moral tale for the ages. However, she has her work cut out for her: Eurydice is in love with the shepherd, Aristée (Aristaeus), who lives next door ("La femme dont le coeur rêve"), and Orphée is in love with Chloë, a shepherdess. When Orphée mistakes Eurydice for her, everything comes out, and Eurydice insists they break the marriage off. However Orphée, fearing Public Opinion's reaction, torments her into keeping the scandal quiet using violin music, which she hates.

We now meet Aristée – who is, in fact, Pluton (Pluto) – keeping up his disguise by singing a pastoral song about those awful sheep ("Moi, je suis Aristée"). Since Pluton was originally played by a famous female impersonator, this song contains numerous falsetto notes. Eurydice, however, has discovered what she thinks is a plot by Orphée to kill Aristée, but is in fact a conspiracy between him and Pluton to kill her, so Pluton may have her. Pluton tricks her into walking into the trap by showing immunity to it, and, as she dies, transforms into his true form (Transformation Scene). Eurydice finds that death is not so bad when the God of Death is in love with you ("La mort m'apparaît souriante"), and so keeps coming back for one more verse. They descend into the Underworld as soon as Eurydice has left a note telling her husband she has been unavoidably detained (Descent to the Underworld). All seems to be going well for Orphée until Public Opinion catches up with him, and threatens to ruin his violin teaching career unless he goes to rescue his wife.

Orphée reluctantly agrees. Scene 2: Olympus The scene changes to Olympus, where the Gods sleep out of boredom ("Dormons, dormons"). Things look a bit more interesting for them when Diane (Diana) returns and begins gossiping about Actaeon, her current love ("Quand Diane descend dans la plaine"). However, Jupiter, shocked at the behaviour of the supposedly virgin goddess, has turned Actaeon into a stag. Pluto then arrives, and reveals to the other gods the pleasures of Hell, leading them to revolt against horrid ambrosia, hideous nectar, and the sheer boredom of Olympus ("Aux armes, dieux et demi-dieux!"). Jupiter's demands to know what is going on lead them to point out his hypocrisy at great length, describing – and poking fun at – all his mythological affairs. However, little further progress can be made before news of Orphée's arrival forces the gods to get onto their best behaviour. Pluto is worried he will be forced to give Eurydice back, and, after a quotation from Gluck's Orfeo ed Euridice sends the gods to tears, Jupiter announces that he is going to Hell to sort everything out.

The other gods beg to come with him, he consents, and mass celebration breaks out at this holiday ("Gloire! gloire à Jupiter"). Act 2 Scene 1 Eurydice is being kept locked up by Pluto, and is finding life very dull. Her gaoler, a dull-witted tippler by the name of John Styx, is not helping, particularly his habit of telling, at the slightest provocation, all about how he was King of Boeotia (a region of Greece that Aristophanes used as a source of rural rubes) until he died. But if he had not died, he would still be king ("Quand j'étais roi de Béotie"). Jupiter spots where Pluton hid Eurydice whilst being shown around by him, and slips through the keyhole by turning into a beautiful, golden fly. He meets Eurydice on the other side, and sings a love duet with her where his part consists entirely of buzzing ("Bel insecte à l'aile dorée"). Afterwards, he reveals himself to her, and promises to help her, largely because he wants her for himself.

Scene 2 The scene shifts to a huge party the gods are having in Hell, where ambrosia, nectar, and propriety are nowhere to be seen ("Vive le vin! Vive Pluton!"). Eurydice sneaks in disguised as a bacchante ("J'ai vu le dieu Bacchus"), but Jupiter's plan to sneak her out is interrupted by calls for a dance. Unfortunately, Jupiter can only dance minuets which everyone else finds boring and awful ("La la la. Le menuet n'est vraiment si charmant"). Things liven up, though, as the most famous number in the operetta, the Galop Infernal (best known as the music of the can-can) starts, and everyone throws himself into it with wild abandon ("Ce bal est original"). Ominous violin music heralds the approach of Orphée (Entrance of Orphée and Public Opinion), but Jupiter has a plan, and promises to keep Eurydice away from him. As with the standard myth, Orphée must not look back, or he will lose Eurydice forever ("Ne regarde pas en arrière!").

Public Opinion keeps a close eye on him, to keep him from cheating, but Jupiter throws a lightning bolt, making him jump and look back, and so all ends happily, with a reprise of the Galop. Audio The operetta has been recorded many times. 1952: A historic recording by René Leibowitz and the Paris Philharmonic re-issued on compact disc (REGIS RRC 2063), with Jean Mollien in the title role, Claudine Collart as Eurydice, Bernard Demigny as Jupiter and André Dran as Aristée/Pluton. 1978 Michel Plasson conducting the Orchestre du Capitole de Toulouse, with Michel Sénéchal in the title role, Mady Mesplé as Euridice, Charles Burles, Michel Trempont, André Mallabrera, Jean-Philippe Lafont, Jane Berbié, Jane Rhodes (EMI CDS7496472).

1987: The English National Opera production, released on That's Entertainment Records (CD TER 1134) with Stuart Kale in the title role, Lilian Watson as Euridice, Richard Angas as Jupiter and Emile Belcourt as Aristée/Pluton. 1999: Marc Minkowski conducted the operetta (two-act version with some extras from the 4-act one) in Lyon, with a cast including Natalie Dessay, Laurent Naouri, Jean-Paul Fouchécourt, Véronique Gens, Patricia Petibon, Ewa Podleś, and Steven Cole (EMI 0724355672520). There is a recording in English (highlights only) by The Sadlers Wells Opera with June Bronhill as Euridice and Eric Shilling as Jupiter. Other recordings may be found on operadis-opera-discography.org.uk Notes ^ Holden, p. 267 ^ Lamb, Andrew, "Orphée aux enfers", in The New Grove Dictionary of Opera, ed.

Stanley Sadie (London, 1992) ISBN 0-333-73432-7 ^ Hall, George. Notes to Decca CD 425 083-2, 1994 ^ Holden, p. 268 ^ Cesky hudebny slovnik; Retrieved 21 April 2013 ^ "Haymarket Theatre", The Observer, 31 December 1865, p. 3 ^ "Orpheus in the Underworld" Musical Theatre Guide ^ "A Modern Orpheus", The Times, 18 May 1960, p. 18 ^ Sleeve notes to the CD recording of the ENO production: CDTER 1134 ^ Milnes, Rodney. "All down to a hell of a good snigger" The Times, 22 Monday, March 1993; and Sutcliffe, Tom. "Styx for Kicks", The Guardian 21 April 1993, p. A6 ^ Kasow, J. Massis's Eurydice - report from Geneva.

Opera, January 1998, Vol 49, No 1, p101-2. ^ ^ Félix Clément and Pierre Larousse: Dictionnaire des opéras (rev. Arthur Pougin), Da Capo Press Music Reprint Series, New York 1969 ^ Jean-Bernard Piat: Guide du mélomane averti, Le Livre de Poche 8026, Paris 1992 ^ From Answers.com ^ Orpheus in the Underworld, 1983 BFI database, accessed 10 April 2013. Sources Amadeus Almanac (1858), accessed 20 November 2008 Amadeus Almanac (1874), accessed 20 November 2008 Holden, Amanda (ed). The Penguin Opera Guide, London, Penguin Books, 1997, ISBN 0-14-051385-X "Orphée aux enfers" by Andrew Lamb, in The New Grove Dictionary of Opera, ed.

Stanley Sadie (London, 1992) ISBN 0-333-73432-7 The Opera Goer's Complete Guide by Leo Melitz, 1921 version. "Orpheus In the Underworld" The Guide to Light Opera and Operetta "Orpheus in the Underworld " The Guide to Musical Theatre "Orphée aux enfers, operetta" Answers.com Orpheus in the Underworld - Definition and synonyms of Orpheus in the Underworld in the English dictionary. Translation of Orpheus in the Underworld to 20 languages. Orpheus in the Underworld Meaning of Orpheus in the Underworld in the English dictionary DICTIONARY GRAMMATICAL CATEGORY OF ORPHEUS IN THE UNDERWORLD noun exclamation Orpheus in the Underworld is a noun. A noun is a type of word the meaning of which determines reality. Nouns provide the names for all things: people, objects, sensations, feelings, etc. WHAT DOES ORPHEUS IN THE UNDERWORLD MEAN IN ENGLISH?

Orpheus in the Underworld Orphée aux enfers is an opéra bouffon, or opéra féerie in its revised version, by Jacques Offenbach. The French text was written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux. The work, first performed in 1858, is said to be the first classical full-length operetta. Offenbach's earlier operettas were small-scale one-act works, since the law in France did not allow certain genres of full-length works. Orpheus was not only longer, but more musically adventurous than Offenbach's earlier pieces. This also marked the first time that Offenbach used Greek mythology as a backdrop for one of his buffooneries. The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice and culminates in the risqué Galop infernal that shocked some in the audience at the premiere. Other targets of satire, as would become typical in Offenbach's burlesques, are the stilted performances of classical drama at the Comédie-Française and the scandals in society and politics of the Second French Empire.

The "Infernal Galop" from Act II, Scene 2, is famous outside classical circles as the music for the "can-can" . These words share the same root as Orpheus in the Underworld. Click on the words to load more information.

Synonyms and antonyms of Orpheus in the Underworld in the English dictionary of synonyms SYNONYMS WORDS RELATING TO «ORPHEUS IN THE UNDERWORLD» Orpheus in the Underworld orpheus underworld story synopsis myth infernal galop finale music orphée enfers opéra bouffon féerie revised version jacques offenbach french text guide musical theatre book lyrics théâtre bouffes parisiens paris event miller gods take spirited holiday most famous ticketed covered seating imslp petrucci performances recordings synthesized midi piano solo novegno sheet scores overture parts amazon wieder geht ende krannert center performing arts libretto young here concerto chanson aristée quelle triste destinée vent oeil guet boston opera collaborative presents july strand columbia road dorchester movie directed dirk gryspiert with alexandru badea elizabeth vidal reinaldo macias dale duesing tempo press composer arranger dackow sandra description very easy arrangement played either citizens visiting company archive world premiere romp features some Translation of «Orpheus in the Underworld» into 20 languages TRANSLATOR TRANSLATION OF ORPHEUS IN THE UNDER

WORLD Find out the translation of Orpheus in the Underworld to 20 languages with our English multilingual translator .

The translations of Orpheus in the Underworld from English to other languages presented in this section have been obtained through automatic statistical translation; where the essential translation unit is the word «Orpheus in the Underworld» in English. List of principal searches undertaken by users to access our English online dictionary and most widely used expressions with the word «Orpheus in the Underworld». FREQUENCY OF USE OF THE TERM «ORPHEUS IN THE UNDERWORLD» OVER TIME The graph expresses the annual evolution of the frequency of use of the word «Orpheus in the Underworld» during the past 500 years. Its implementation is based on analysing how often the term «Orpheus in the Underworld» appears in digitalised printed sources in English between the year 1500 and the present day. Examples of use in the English literature, quotes and news about Orpheus in the Underworld EXAMPLES 10 ENGLISH BOOKS RELATING TO «ORPHEUS IN THE UNDERWORLD» Discover the use of Orpheus in the Underworld in the following bibliographical selection. Books relating to Orpheus in the Underworld and brief extracts from same to provide context of its use in English literature.

1 The Outlandish Adventures of Orpheus in the Underworld Recreates the myth of the Greek poet-musician who charmed the whole world with the power and beauty of his song. Paul Newham, 1994 10 Orpheus with His Lute: Poetry and the Renewal of Life When the painters of the vases found in South Italy depicted Orpheus in the underworld, they showed him in the act of playing his lyre, and standing by the entrance to an elaborate portico. Inside, Pluto and Persephone are conversing, ... Elisabeth Henry, 1992 10 NEWS ITEMS WHICH INCLUDE THE TERM «ORPHEUS IN THE UNDERWORLD» Find out what the national and international press are talking about and how the term Orpheus in the Underworld is used in the context of the following news items. 1 Corobrik Orchestra 2015 in a new venue ... Walk Alone, a Sinatra medley titled Salute to Ole Blue Eyes, and the show-stopping Can-Can from Offenbach's Orpheus in the Underworld.

«Artslink.co.za News, Jul 15» 2 Scandalous opera weekend When Jacques Offenbach's Orpheus in the Underworld was first performed in France in the 1850s it was condemned as scandalous. The opera ... «Bucks Herald, Jul 15» 3 Orpheus in the Underworld review – the cast enjoys the whole romp … 'Hitting her top notes with impunity' … Suzanne Shakespeare as Eurydice in Orpheus in the Underworld. Photograph: Paul Blakemore/PR. «The Guardian, Jul 15» 4 Orpheus in the Underworld, Iford Arts, review: 'thoroughly jolly' I've never had a eureka! moment with Jacques Offenbach's operettas. My loss I'm sure, but I can't help feeling that once you've skimmed away ... «Telegraph.co.uk, Jul 15» 5 Beethoven's FIDELIO in Concert at San Francisco Symphony ... to the latter's licentious Orphée aux enfers [Orpheus in the Underworld] with the German composer's opportunistically moralistic Tannhäuser.).

«Berkeley Daily Planet, Jun 15» 6 MIF15: Damon Albarn heads down the modern day rabbit hole in … “I started off singing Oliver!, then I did a bit of West Side Story, then The Boy Friend, Guys And Dolls, Orpheus In The Underworld, and a bit of ... «Manchester Evening News, Jun 15» 7 Orchestra New England Can-Cans, Foxtrots, And Waltzes To Silent … As Orchestra New England played the triumphant and slightly manic “Can-Can” from Jacques Offenbach's Orpheus in the Underworld, ... «New Haven Independent, Jun 15» 8 'Wigglers welcome': Arts organizations provide performances for … “We always have to play either the cancan from 'Orpheus in the Underworld' or the 'William Tell Overture,'” Fowler said. “… The purpose is to ... «Deseret News, Jun 15» 9 SYMPHONY X Releases 'Without You' Digital Single; Lyric Video … I started looking at Dante, and Orpheus in the underworld, where he's going to go to Hades or hell to save this girl.

So there's the theme of ... «BLABBERMOUTH.NET, Jun 15» 10 Dance series announced for next season at the Ferguson Center "Orpheus in the Underworld," Sept. 25-29: Jacques Offenbach's irreverent spoof of the Greek myth will be conducted by Anne Manson and ... «Daily Press, Jun 15» REFERENCE Orpheus in the Underworld : definition of Orpheus in the Underworld and synonyms of Orpheus in the Underworld (English) See also: Operettas by Offenbach Orphée aux enfers (Orpheus in the Underworld) is an opéra bouffon (a form of operetta ), or opéra féerie in its revised version, by Jacques Offenbach . The French text was written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux . The work, first performed in 1858, is said to be the first classical full-length operetta . [1] [2] Offenbach's earlier operettas were small-scale one-act works, since the law in France did not allow certain genres of full-length works.

Orpheus was not only longer, but more musically adventurous than Offenbach's earlier pieces. [3] This also marked the first time that Offenbach used Greek mythology as a backdrop for one of his buffooneries. The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice and culminates in the risqué galop infernal ("Infernal Galop ") that shocked some in the audience at the premiere. Other targets of satire, as would become typical in Offenbach's burlesques , are the stilted performances of classical drama at the Comédie Française and the scandals in society and politics of the Second French Empire . The Infernal Galop from Act II, Scene 2, is famous outside classical circles as the music for the " Can-can " (to the extent that the tune is widely, but erroneously, called "Can-can") . Saint-Saëns borrowed the Galop, slowed it to a crawl, and arranged it for the strings to represent the tortoise in The Carnival of the Animals .

Contents Performance history 1858 Playbill The first performance of the two-act, opéra bouffe version took place at the Théâtre des Bouffes Parisiens in Paris on 21 October 1858 and ran for an initial 228 performances. It then returned to the stage a few weeks later, after the cast had had a rest. For the Vienna production of 1860, Carl Binder provided an overture that became famous, beginning with its bristling fanfare, followed by a tender love song, a dramatic passage, a complex waltz, and, finally, the renowned Can-can music.[ citation needed ] The piece then played in German at the Stadt Theatre, on Broadway, beginning in March, 1861. Next, it had a run of 76 performances at Her Majesty's Theatre , in London, beginning on 26 December 1865, in an adaptation by J. R. Planché .[ citation needed ] A four-act version, designated as an opéra féerie, was first performed at the Théâtre de la Gaîté on 7 February 1874.

[4] (This has proved less popular over time than the original two act version.) Sadler's Wells opera presented an English version by Geoffrey Dunn beginning on 16 May 1960.[ citation needed ] In the 1980s, English National Opera staged the opera freely translated into English by Snoo Wilson with David Pountney. The production was notable for its satirical portrayal of the then Prime Minister Margaret Thatcher as the character Public Opinion. The first performance was at the Coliseum Theatre in London on 5 September 1985. [5] The revived D'Oyly Carte Opera Company performed the work in the 1990s. [6] Critical appreciation In the eyes of Clément and Larousse [7] the piece is une parodie grotesque et grossière (a coarse and grotesque parody), full of vulgar and indecent scenes that give off une odeur malsaine (an unhealthy odor). In the opinion of Piat, however, Offenbach's Orphée is, like most of his major operettas, a bijou (jewel) that only snobs will fail to appreciate.

[8] The piece was not immediately a hit, but critics' condemnation of it, particularly that of Jules Janin , who called it a "profanation of holy and glorious antiquity," only provided vital publicity, serving to heighten the public's curiosity to see the piece. [9] Roles Gods, goddesses, shepherds, shepherdesses, lictors and spirits in the underworld Synopsis (original two-act opéra bouffe version) Act 1 Scene 1: Near Thebes "Ah ! quel supplice". Sven Erik Vikström (Orpheus) and Elisabeth Söderström (Eurydice), Stockholm , 1955. A melodrama (Introduction and Melodrame) opens the work. Public Opinion explains who she is - the guardian of morality ("Qui suis-je? du Théâtre Antique"). She seeks to rework the story of Orphée (Orpheus) and Eurydice - who, despite being husband and wife, hate each other - into a moral tale for the ages.

However, she has her work cut out for her: Eurydice is in love with the shepherd, Aristée (Aristaeus), who lives next door ("La femme dont le coeur rêve"), and Orphée is in love with Chloë, a shepherdess. When Orphée mistakes Eurydice for her, everything comes out, and Eurydice insists they break the marriage off. However Orphée, fearing Public Opinion's reaction, torments her into keeping the scandal quiet using violin music, which she hates. We now meet Aristée - who is, in fact, Pluton (Pluto) - keeping up his disguise by singing a pastoral song about those awful sheep ("Moi, je suis Aristée"). Since Pluton was originally played by a famous female impersonator, this song contains numerous falsetto notes. Eurydice, however, has discovered what she thinks is a plot by Orphée to kill Aristée, but is in fact a conspiracy between him and Pluton to kill her, so Pluton may have her.

Pluton tricks her into walking into the trap by showing immunity to it, and, as she dies, transforms into his true form (Transformation Scene) Eurydice finds that death is not so bad when the God of Death is in love with you ("La mort m'apparaît souriante"), and so keeps coming back for one more verse. They descend into the Underworld as soon as Eurydice has left a note telling her husband she has been unavoidably detained (Descent to the Underworld). All seems to be going well for Orphée until Public Opinion catches up with him, and threatens to ruin his violin teaching career unless he goes to rescue his wife. Orphée reluctantly agrees. Scene 2: Olympus The scene changes to Olympus, where the Gods sleep out of boredom ("Dormons, dormons"). Things look a bit more interesting for them when Diane (Diana) returns and begins gossiping about Actaeon , her current love ("Quand Diane descend dans la plaine"). However, Jupiter, shocked at the behaviour of the supposedly virgin goddess, has turned Actaeon into a stag.

Pluton then arrives, and reveals to the other gods the pleasures of Hell, leading them to revolt against horrid ambrosia, hideous nectar, and the sheer boredom of Olympus ("Aux armes, dieux et demi-dieux!"). Jupiter's demands to know what is going on lead them to point out his hypocrisy at great length, describing - and poking fun at - all his mythological affairs. However, little further progress can be made before news of Orphée's arrival forces the gods to get onto their best behaviour. Pluton is worried he will be forced to give Eurydice back, and, after a quotation from Gluck's Orfeo ed Euridice sends the gods to tears, Jupiter announces that he is going to Hell to sort everything out. The other gods beg to come with him, he consents, and mass celebration breaks out at this holiday ("Gloire! gloire à Jupiter"). Act 2 Scene 1 Eurydice is being kept locked up by Pluto, and is finding life very dull.

Her gaoler, a dull-witted tippler by the name of John Styx, is not helping, particularly his habit of telling, at the slightest provocation, all about how he was King of the Boeotians until he died. But if he had not died, he would still be king ("Quand j'étais roi de Béotie").1 1 Boeotia is a part of Greece that Aristophanes fills with idiotic rural rubes - rather appropriate for this Styx. Jupiter spots where Pluton hid Eurydice whilst being shown around by him, and slips through the keyhole by turning into a beautiful, golden fly. He meets Eurydice on the other side, and sings a love duet with her where his part consists entirely of buzzing ("Bel insecte à l'aile dorée"). Afterwards, he reveals himself to her, and promises to help her, largely because he wants her for himself. Scene 2 The scene shifts to a huge party the gods are having in Hell, where ambrosia, nectar, and propriety are nowhere to be seen ("Vive le vin! Vive Pluton!").

Eurydice sneaks in disguised as a bacchante ("J'ai vu le dieu Bacchus"), but Jupiter's plan to sneak her out is interrupted by calls for a dance. Unfortunately, Jupiter can only dance minuets which everyone else finds boring and awful ("La la la. Le menuet n'est vraiment si charmant"). Things liven up, though, as the most famous number in the operetta, the Galop Infernal (best known as the music of the Can-can ) starts, and everyone throws himself into it with wild abandon ("Ce bal est original"). Ominous violin music heralds the approach of Orphée (Entrance of Orphée and Public Opinion), but Jupiter has a plan, and promises to keep Eurydice away from him. As with the standard myth, Orphée must not look back, or he will lose Eurydice forever ("Ne regarde pas en arrière!"). Public Opinion keeps a close eye on him, to keep him from cheating, but Jupiter throws a lightning bolt, making him jump and look back, and so all ends happily, with a reprise of the Galop. Libretto Audio The operetta has been recorded many times.

1951: An historic recording by René Leibowitz and the Paris Philharmonic available on compact disc (REGIS RRC 2063). Michel Plasson recorded the work with Mady Mesplé in 1978 (EMI CDS7496472). 1987: The English National Opera production, released on CD by That's Entertainment Records (CDTER 1134) 1999: Marc Minkowski conducted the operetta (two-act version with some extras from the 4-act one) in Lyon , with a cast including Natalie Dessay , Laurent Naouri , Jean-Paul Fouchécourt , Véronique Gens , Patricia Petibon , and Ewa Podles (EMI 0724355672520). There is a recording in English (highlights only) by The Sadlers Wells Opera with June Bronhill as Euridice and Eric Shilling as Jupiter.

Other recordings may be found on operadis-opera-discography.org.uk Video 1997: Minkowski is also the conductor on a DVD, again at Lyon with Natalie Dessay, Laurent Naouri, and Jean-Paul Fouchécourt, as well as Yann Beuron and others in a production by Laurent Pelly (TDK DV-OPOAE). Again this is basically the two-act version. (An excerpt from the Jupiter/Eurydice seduction duet is on YouTube [1] , in which, as he performs oral stimulation on her, she climaxes at the high note.) References galop infernal : definition of galop infernal and synonyms of galop infernal (English) Gods, goddesses, shepherds, shepherdesses, lictors and spirits in the underworld Synopsis (original two-act opéra bouffe version) Act 1 Scene 1: Near Thebes A melodrama (Introduction and Melodrame) opens the work. Public Opinion explains who she is - the guardian of morality ("Qui suis-je? du Théâtre Antique").

She seeks to rework the story of Orphée (Orpheus) and Eurydice - who, despite being husband and wife, hate each other - into a moral tale for the ages. However, she has her work cut out for her: Eurydice is in love with the shepherd, Aristée (Aristaeus), who lives next door ("La femme dont le coeur rêve"), and Orphée is in love with Chloë, a shepherdess. When Orphée mistakes Eurydice for her, everything comes out, and Eurydice insists they break the marriage off. However Orphée, fearing Public Opinion's reaction, torments her into keeping the scandal quiet using violin music, which she hates. We now meet Aristée - who is, in fact, Pluton (Pluto) - keeping up his disguise by singing a pastoral song about those awful sheep ("Moi, je suis Aristée"). Since Pluton was originally played by a famous female impersonator, this song contains numerous falsetto notes.

Eurydice, however, has discovered what she thinks is a plot by Orphée to kill Aristée, but is in fact a conspiracy between him and Pluton to kill her, so Pluton may have her. Pluton tricks her into walking into the trap by showing immunity to it, and, as she dies, transforms into his true form (Transformation Scene) Eurydice finds that death is not so bad when the God of Death is in love with you ("La mort m'apparaît souriante"), and so keeps coming back for one more verse. They descend into the Underworld as soon as Eurydice has left a note telling her husband she has been unavoidably detained (Descent to the Underworld). All seems to be going well for Orphée until Public Opinion catches up with him, and threatens to ruin his violin teaching career unless he goes to rescue his wife. Orphée reluctantly agrees. Scene 2: Olympus The scene changes to Olympus, where the Gods sleep out of boredom ("Dormons, dormons"). Things look a bit more interesting for them when Diane (Diana) returns and begins gossiping about Actaeon , her current love ("Quand Diane descend dans la plaine").

However, Jupiter, shocked at the behaviour of the supposedly virgin goddess, has turned Actaeon into a stag. Pluton then arrives, and reveals to the other gods the pleasures of Hell, leading them to revolt against horrid ambrosia, hideous nectar, and the sheer boredom of Olympus ("Aux armes, dieux et demi-dieux!"). Jupiter's demands to know what is going on lead them to point out his hypocrisy at great length, describing - and poking fun of - all his mythological affairs. However, little further progress can be made before news of Orphée's arrival forces the gods to get onto their best behaviour. Pluton is worried he will be forced to give Eurydice back, and, after a quotation from Gluck's Orfeo ed Euridice sends the gods to tears, Jupiter announces that he is going to Hell to sort everything out. The other gods beg to come with him, he consents, and mass celebration breaks out at this holiday ("Gloire! gloire à Jupiter"). Act 2 Scene 1 Eurydice is being kept locked up by Pluto, and is finding life very dull.

Her gaoler, a dull-witted tippler by the name of John Styx, is not helping, particularly his habit of telling, at the slightest provocation, all about how he was King of the Beotians until he died. But if he had not died, he would still be king ("Quand j'étais roi de Béotie").1 1 Beotia is a part of Greece that Aristophanes fills with idiotic rural rubes - rather appropriate for this Styx. Jupiter spots where Pluton hid Eurydice whilst being shown around by him, and slips through the keyhole by turning into a beautiful, golden fly. He meets Eurydice on the other side, and sings a love duet with her where his part consists entirely of buzzing ("Bel insecte à l'aile dorée"). Afterwards, he reveals himself to her, and promises to help her, largely because he wants her for himself. Scene 2 The scene shifts to a huge party the gods are having in Hell, where ambrosia, nectar, and propriety are nowhere to be seen ("Vive le vin! Vive Pluton!").

Eurydice sneaks in disguised as a bacchante ("J'ai vu le dieu Bacchus"), but Jupiter's plan to sneak her out is interrupted by calls for a dance. Unfortunately, Jupiter can only dance minuets which everyone else finds boring and awful ("La la la. Le menuet n'est vraiment si charmant"). Things liven up, though, as the most famous number in the operetta, the Galop Infernal (best known as the music of the Can-can ) starts, and everyone throws himself into it with wild abandon ("Ce bal est original"). Ominous violin music heralds the approach of Orphée (Entrance of Orphée and Public Opinion), but Jupiter has a plan, and promises to keep Eurydice away from him. As with the standard myth, Orphée must not look back, or he'll lose Eurydice forever ("Ne regarde pas en arrière!"). Public Opinion keeps a close eye on him, to keep him from cheating, but Jupiter throws a lightning bolt, making him jump and look back, and so all ends happily, with a reprise of the Galop. Libretto Audio The operetta has been recorded many times.

1951: An historic recording by René Leibowitz and the Paris Philharmonic available on compact disc (REGIS RRC 2063). Michel Plasson recorded the work with Mady Mesplé in 1978 (EMI CDS7496472). 1999: Marc Minkowski conducted the operetta (two-act version with some extras from the 4-act one) in Lyon , with a strong cast including Natalie Dessay , Laurent Naouri , Jean-Paul Fouchécourt , Véronique Gens , Patricia Petibon , and Ewa Podles (EMI 0724355672520). Video 1997: Minkowski is also the conductor on a DVD, again at Lyon with Natalie Dessay, Laurent Naouri, and Jean-Paul Fouchécourt, as well as Yann Beuron and others in a production by Laurent Pelly (TDK DV-OPOAE). Again this is basically the two-act version.

(An excerpt from the Jupiter/Eurydice seduction duet is on YouTube [1] , in which, as he performs oral stimulation on her, she climaxes at the high note.) References

Question: What popular name is given to the Infernal Galop from Act 2 of 'Orpheus in the Underworld'?
Answer: The Can Can